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What Will the Artemis II Moon Mission Teach Us?

2026-04-07 05:06:02

2026-04-06T20:44:28.643Z

This past Wednesday, at the Kennedy Space Center, in Florida, the four-person crew of Artemis II strapped into a tiny metal capsule atop a skyscraper-size rocket. A column of fire, fuelled by millions of pounds of propellant, carried the astronauts into orbit, en route to the far side of the moon. Christina Koch, a mission specialist on the crew, had looked back at her planet before, during nearly a year aboard the International Space Station. Yet the I.S.S. orbited at a distance of only two hundred and fifty miles—too close to see the entire globe. The moon, in contrast, is a quarter-million miles away. On her way there, Koch saw the entire Earth for the first time. It eventually shrank to the size of a golf ball.

Astronauts have not explored the lunar surface since Apollo 17 landed there, in 1972. The Artemis program aims to go further, not only bringing humans to the moon but also building a permanent base there. Artemis II, the program’s first crewed flight, is essentially a practice run. In the course of ten days, the Orion capsule—dubbed Integrity—is swinging around the moon, without landing on it, and then returning to Earth. NASA is evaluating every aspect of the mission, including space-toilet reliability and manual-pilot controls. On April 10th, Artemis II is expected to splash down in the Pacific Ocean.

Figure looks out of a window at earth far away
The mission commander, Reid Wiseman, in front of a view of the Earth.Photograph courtesy NASA

Some issues demanded attention soon after takeoff. Just before maneuvers that would move the spacecraft out of Earth’s orbit and into a lunar trajectory, the capsule flashed an emergency message: a suspected cabin leak. Jeremy Hansen, a Canadian astronaut on the mission, mentally prepared to don a spacesuit and figure out how to get the crew home. The message turned out to be a false alarm. Other difficulties have been more down to Earth. “I also see that I have two Microsoft Outlooks, and neither one of those are working,” Reid Wiseman, the mission commander, told Mission Control. The crew has learned to navigate shipboard life, too. Victor Glover, the pilot, reported that the spacecraft was uncomfortably cold, and donned a knit cap. Then there was the question of where one sleeps while weightless. Koch took to hanging from the ceiling, like a bat.

NASA has hailed the mission’s many firsts. Most notably, its diverse crew was travelling farther from Earth than anyone ever has. Key moments in the mission were memorialized with charmingly clunky scripted remarks. “When the engine ignites, you embark on humanity’s lunar homecoming arc and set the course to return Integrity and her crew safely home,” Chris Birch, the capsule communicator in Mission Control, told the crew. Koch replied, “With this burn to the moon, we do not leave Earth—we choose it.” This is NASA’s most important crewed effort in a generation, and so far it has been textbook. Close observers of the space program are not only celebrating milestones but feeling a wave of relief. Artemis II follows thirty years of false starts.

This week’s mission represents a beginning and an end. It gives NASA a new focus beyond the moribund I.S.S., and it sets the stage for a revived space race. This time, the main rival is China, which has a disciplined and effective program, called Chang’e, to land humans on the lunar surface by 2030. (Like Artemis, Chang’e is named after a goddess of the moon.) Artemis also represents the end of something essential. Artemis II is arguably a product of Old NASA, and it would still be recognizable to the architects of the Apollo missions. Although it features cutting-edge alloys, carbon-fibre composites, and digital avionics, the mission is managed by the same NASA centers. Many of the same contractors that built Apollo hardware were responsible for building Artemis II, often in the same buildings.

Beginning with Artemis III, in the name of efficiency, NASA will start handing major elements of the lunar program over to private companies, including SpaceX and Blue Origin. NASA will neither build nor own the next generation of lunar landers. It will basically hire a rideshare service to bring its astronauts from lunar orbit to the surface, and it will even rent its spacesuits from a contractor called Axiom Space. In the Trump Administration’s budget for the fiscal year 2026, it sought to cancel the Artemis rocket, known as the Space Launch System, in favor of commercial alternatives still in development, such as SpaceX’s Starship. The NASA of old was spread across the country so that many communities would benefit from its investments; the new space program will be increasingly privatized and concentrated in Texas and Florida. One wonders if it can live up to NASA’s longstanding motto: “For the benefit of all.”

To land the first two men on the moon, in 1969, NASA depended on about four hundred thousand workers. Only three years later, the Apollo program ended, and the technical capacity to build, assemble, and operate millions of parts quickly degraded. By the time President George H. W. Bush laid out systematic goals for NASA, in the late eighties, it was no longer feasible to repeat what had worked before. Bush envisioned multiple advances: a space station, a return to the moon, and a Mars landing. But setting foot on the moon again would require starting largely from scratch, technically and psychologically. “NASA programs require sustained political support and financial support over many years,” Emily A. Margolis, the curator of contemporary spaceflight at the Smithsonian’s National Air and Space Museum, told me. “During that time, the multiple Presidential Administrations and Congresses valued spaceflight differently. NASA had to work against that challenging backdrop.”

Figures in space suits look at a dashboard
Sunlight floods the interior of the Orion spacecraft a few minutes after its launch from Kennedy Space Center.Video courtesy NASA

The Clinton Administration abandoned the Bush plan in favor, ultimately, of the International Space Station. In 2004, President George W. Bush called for the creation of what would become the Constellation program, which sought to complete the station before moving on to lunar missions, and then to landing astronauts on Mars. President Barack Obama cancelled Constellation, prioritizing an asteroid landing and opting to try for Mars next. But the first Trump Administration ended the Obama program, instead establishing the moon-focussed Artemis program. President Joe Biden’s support cemented Artemis within NASA. “Artemis is a survivor program,” Margolis said. “The Orion crew capsule was part of the Constellation program. Three of the rocket’s four engines flew on Space Shuttle missions.” The Artemis launch vehicle, in turn, was based on Constellation’s Ares V design, and its booster rockets were an innovation of the Space Shuttle era. “NASA often reutilizes technologies that ultimately survive political transitions,” she told me.

The Apollo program was centrally planned and ruthlessly methodical. Back then, the path to the moon was more or less a straight line. Commercial spaceflight is comparatively laissez-faire. SpaceX and Blue Origin are developing their technologies independently; a breakthrough by one company is not a breakthrough for others. Both companies are also years behind schedule. SpaceX is now supposed to land Artemis astronauts on the moon in 2028, using its Starship system, but significant technical barriers remain. Starship is as yet incapable of reaching the moon, let alone delivering a lander to it. The China National Space Administration, in contrast, has spent the past few years landing rovers on the far side of the moon and retrieving moon rocks for study. About four years ago, China built its own sophisticated space station, called Tiangong, a dramatic demonstration of its human spaceflight capability. Its path to the moon looks a lot like Apollo’s. The next flag on the moon may well be a Chinese one.

As fantastic as NASA’s missions can seem, there is something intimate and relatable about the agency. Every year, more than a million people tour the Johnson Space Center, in Houston, and tens of thousands attend space camp, in Huntsville, Alabama. “It’s a rare and incredible thing that NASA welcomes the public—the American taxpayers and others—to come see what they do,” Margolis said. “NASA’s business is space exploration, not hospitality, but the visitor centers create good will among the people who fund this program.” The public is invested in each mission; Magellan may have sailed the world, but “we” went to the moon. Will we feel the same way when NASA astronauts climb out of a SpaceX moon lander? The commercial space race is defined by secrecy and competition, not collaboration. At SpaceX’s Starship facility in Texas, armed guards stand watch. A sign outside says that if you want a tour you should get a job there.

Only three types of crewed spacecraft have ever flown to deep space: Apollo capsules, Apollo landers, and now the Orion capsule. NASA compares Orion’s interior to that of a Winnebago camper van. When I sat in a replica used for training simulations, at the Johnson Space Center, the space felt small for one person. Four inhabitants seemed inconceivable. The Artemis II astronauts are unable to stretch out an arm without touching someone else—and that’s the least of their worries. Every square foot of a spacecraft, at pressure, is under about one ton of force. In the vacuum of space, Orion essentially wants to blow up. If its heating system fails, the crew could freeze to death. They depend on rebreathers to keep them from dying of carbon-dioxide poisoning or hypoxia. During reëntry, only a few inches of heat shielding will separate their feet from the exterior of the spacecraft, which will warm to five thousand degrees—about half as hot as the surface of the sun. Even when things are going well, an astronaut in flight is remarkably close to oblivion.

The Artemis II astronauts approached the apex of their journey knowing that, on April 6th, they would lose sight of—and communication with—Mission Control. The far side of the moon, which is never seen from planet Earth, would be the size of a basketball at arm’s length. For about forty minutes, they would be truly alone. In an interview from space, Koch, her hair floating in a crown around her head, told NBC News about the curious duality of space exploration: they were speeding through the heavens, but she felt as human as ever. One minute, she was gazing out at unfamiliar parts of the lunar surface, thinking, That is not the moon that I’m used to seeing. The next, she said, her mind was on more terrestrial matters: “Hmm, maybe I should change my socks.” ♦



Daily Cartoon: Monday, April 6th

2026-04-07 00:06:02

2026-04-06T15:52:12.431Z
A crowd of people ogle and take photos of two American woodcocks at the park.
“Wow! New Yorkers really like out-of-towners!”
Cartoon by Mads Horwath

“Theodore Roosevelt Taylor,” by Tyehimba Jess

2026-04-06 21:06:02

2026-04-06T10:00:00.000Z

April 12, 1915–December 17, 1975

Hound Dog once confessed:
I can’t play shit, but I sure make it sound good.
Others just said he played the hell out’ that guitar.
Yes, it’s true the hell was played out
of his guitar on the daily—along with five hundred miles
of barbed wire wind whistle, a murder
of crow caws, twenty pounds of brass-knuckle
jangles, and forty acres of midnight cricket song.
When he dragged the holler of his humbucker
through wire and magnified coil, folks swore
they’d heard the muffled motor rumbles of seven
funeral cars, the spinning chambers
of eleven .44s and a mother’s murmured-up prayers
echoed off plaster-cast praying hands.
In short, he slid metal on string till the devil
got tickled and laughed up the Blues.

Born a polydactyl, his twelve fingers
flayed the six-string till one night
he freed himself of his right hand’s
sixth nub. Sawed it off drunk
on something loaded
with more proof than sense.
Each boogie he played held a secret
line dance for the sacrificial digit,
its spirit hovering up in the stratosphere
somewhere with his howl.
In a distant forest,
the monument to his reckless
fretwork rustles in the treetops
and hums with beehives
like the watts in a worn, weary amp
burning, crackling for release.

Getting Older with Clare Barron and Anne Kauffman

2026-04-06 19:06:01

2026-04-06T10:00:00.000Z

Mortality has a way of sneaking up on you. For the playwright Clare Barron, the wake-up call came in 2013, when her father was diagnosed with Stage IV head-and-neck cancer. She had just been dumped by a boyfriend who was also her boss; at loose ends, she took trips to Washington to be with her dad and started writing through it. She gave these overlapping crises to Mae, the protagonist of “You Got Older,” which premièred at HERE Arts Center, in Manhattan, within a year of the events that inspired it. Barron was twenty-seven. The other day, she surveyed her old venue, her gaze alighting on a tree-filled courtyard next door. “I remember having a lot of tearful conversations right here,” she said brightly.

Both the original production and a new one, now running at the Cherry Lane Theatre, were directed by Anne Kauffman, known for her work with such playwrights as Amy Herzog and Jordan Harrison. Kauffman arrived at HERE with her husky mix, Eleanor Roosevelt, in tow. “Hi, honey bunny!” she said to Barron. She wore a rust-colored tank top, her hair in a ponytail. Barron, less optimistic about the early spring weather, was buttoned into a long red coat.

The pair set off on a walk, Eleanor sniffing the pavement as they went. Their first encounter twelve years ago was, Kauffman said, “very blind date-y.” She’d taken a break from directing. “My mother had just passed away,” she said. “I didn’t want to do anything.” Then she read “You Got Older.” The tragicomic look at two lives on hold struck a chord; its depiction of a family bickering and bantering, and of the risks of intimacy, felt specific and true. Kauffman, fresh from a divorce, was drawn to Mae’s plight: “I thought, I have to do this play.”

Barron’s dad was finally declared cancer-free during rehearsals. She hadn’t shown anyone in her family the script. “One of the most terrifying nights of my life was my parents coming to see the play,” she said. (Beyond the real-life trauma, there was the fact that her heroine, unmoored and horny, fantasizes about a cowboy who’s into B.D.S.M.) In the end, her dad got it, and Barron won an Obie. Though the show could run only a month, she and Kauffman kept in touch and schemed about reviving it.

Their stroll ended at the Cherry Lane, where the front-of-house staff cooed over Eleanor. Barron and Kauffman entered the adjoining restaurant, the Wild Cherry—retro vibe, painted ferns creeping up the walls—and settled into a green booth. Over drinks (Barron’s a white Negroni, Kauffman’s a spicy Paloma), they reflected on the new run, which stars Alia Shawkat and Peter Friedman. This time, the chief source of anxiety had been a pivotal dance sequence improbably set to Pitbull’s “Timber.” At HERE, they hadn’t asked his permission, and Barron was alarmed when the Cherry Lane insisted that she reach out. “But I did write a letter to Pitbull saying, Hey, we’re doing a play about cancer. Can we use this? And Pitbull said we could.”

In between the two productions, Barron moved to L.A. and became a Pulitzer finalist for another semi-autobiographical play, “Dance Nation.” Kauffman made her Broadway début and was later nominated for a Tony. Other things remain the same. “I’m still myself, and by that I mean there’s still a ton of drama and angst in my life,” Barron said. She met her partner in the writers’ room for a TV show—a guy who, like the ex from “You Got Older,” started out as her boss. “Something he does not love is that I’ve dated many of my bosses,” she admitted. “I just like a power dynamic!”

Her next project will also be with Kauffman. The new play is about, as Barron put it, “a thirty-year affair,” and “the myth of the soulmate.”

“It’s about marriage, and it’s about love, and it’s about art,” Kauffman said. “In my own life, I feel like all of those things were thrown into question after we worked together, and we bonded over that.”

The evening’s performance was about to start. Both women had loved ones in the audience, but this time Barron’s parents weren’t among them. They were on a long vacation to Italy, born of the near-death experience that had inspired “You Got Older.” When her dad recovered, she explained, he and her mother thought about what they wanted from the rest of their lives. “They’re sending me fifty photos a day on WhatsApp of the Sicilian countryside,” Barron said, smiling. “Nothing makes me happier than knowing they’re living their dream instead of seeing my play again.” ♦

Happy Hour with Emanuel Ax

2026-04-06 19:06:01

2026-04-06T10:00:00.000Z

For someone who has been at the piano for seventy years, Emanuel Ax shouldn’t be so worried about performing. “I get terribly nervous when I play,” he said softly, standing on the stage at WQXR’s Greene Space, near SoHo. “But at least I usually know what’s about to happen. Here, I’m not so sure.”

Ax, who is seventy-six, was about to record a special launch-party show to celebrate his new podcast, “Classical Music Happy Hour,” in front of an audience of more than a hundred people. Five chairs were set up onstage for panelists, and a sixth would be added for a surprise guest—Yo-Yo Ma, the world-renowned cellist and Ax’s friend of fifty-plus years. “I like virtually everybody,” Ax said. “But I love that man.”

Ax shuffled to a regal Steinway grand to run through a four-handed piece—“Dvořák’s Slavonic Dance Op. 46 No. 1,” he said. “Not that anybody cares.” The other two hands belonged to one of the panelists, the actor David Hyde Pierce. The pair had met at a benefit in Los Angeles, where Pierce had bravely told Ax that he, too, tickled the ivories.

“I’m sort of in heaven, so it doesn’t matter how the sound check goes,” Pierce said.

Ax seemed to be in hell. “I hope we get through it,” he said. “We’re going to screw up a lot.” He was right. Their page-turner, the WQXR host Jeff Spurgeon, was no help; despite Pierce’s violent nodding, he missed a few crucial flips. (“All of my page-turning gigs have been last-minute,” Spurgeon said.)

“I assume the engineers will take care of stuff,” Pierce said. “They’ll have their work cut out for them.”

In the greenroom, picking at crusted-over hummus and sliced salami, Ax tried to distract himself by getting to know another panelist, the linguist and music teacher John McWhorter. “Do you do—?” he started to ask.

“I’m a pretty good cabaret pianist,” McWhorter said. “And I also played cello for many years as a kid.” He giggled, worried that he’d let slip the Yo-Yo secret. “Sorry, I shouldn’t have said that.”

When showtime arrived, Ma sneaked in a side door just as cameras started to roll. Onstage, Ax’s jitters melted into charm. “Who would be your ideal guest?” the m.c., WQXR’s Elliott Forrest, asked.

Ax replied, “Obviously, Beethoven would be great, but he’d be asking ‘What?’ all the time.”

Then came time for the Dvořák. Ax and Pierce launched into triumphant C major, tufts of white hair jostling as they crashed through their mistakes. Spurgeon stood behind them, following intently; he whipped a page, jaw clenched. (His wife, sitting close to the stage, squealed, “Yes! Yes!”)

As the action was winding down, the sixth chair was placed. “It’s incredibly nice of him to make the effort and come and see all of us,” Ax said. “It’s my friend Yo-Yo Ma!” Ma trotted out holding a cello, to One Direction-level applause. He nestled himself in the piano’s curve, and the two old friends eased into an arrangement of “Over the Rainbow.” Ma’s bow danced over the strings; Ax’s fingers glistened across the keys. The room was still, and Pierce began to cry.

Man on computer in living room with bowl of fruit on table.
Cartoon by Bruce Eric Kaplan

“We’ve developed a sixth sense,” Ma said, after the show. “We’re not looking at one another, but we know exactly when to do something.”

“You have a very expressive back,” Ax said.

Ma, ever the muse, was the one who inspired Ax’s pivot to podcasting. “It came from Yo-Yo’s idea of doing a music ‘Car Talk,’ ” Ax explained. Ma shook his head in protest, but Ax bulldozed on: “And they wanted both of us to do it, but you had too many things going. I had more time.” He added, with a smile, “I follow your life!”

“We’re like an old married couple,” Ma said. “Every time I go to Manny’s house, he’s got all these wonderful wine bottles. It’s a friendship with benefits.”

“The alcohol I drink most is probably white wine,” Ax said.

“And you drink champagne,” Ma corrected.

“I thought that was a wine,” Ax replied.

“Well, you said white wine,” Ma said. Checkmate.

“We try not to drink too much,” Ax said. “We’re very easy to put away.” They looked at each other with boyish glints. Conversation turned, inevitably, to music. “By definition, we cannot reach the aspirational goal,” Ax said, loftily. “There’s no perfect performance.”

Ma nodded. “And ‘Over the Rainbow,’ for example, is about yearning,” he said. “If the bluebird can, why can’t we?”

Perfect performance or not, Ax thought the live show had gone well. “I was silly in all the right places,” he said. He was even O.K. with the messy Dvořák. “We had to play something,” he said. “Since I don’t talk so good.” ♦

Geese, Cooked

2026-04-06 19:06:01

2026-04-06T10:00:00.000Z

Come springtime in the Hamptons, the sight of large flocks of Canada geese, flying in V’s overhead or foraging in fields, brings mixed feelings. On the one hand: summer is around the corner! On the other: droves of (human) jerks will be arriving soon. But, recently, a different seasonal scourge disrupted the status quo. Highly pathogenic avian influenza—or H5N1, a.k.a. bird flu—has plagued the East End’s Canada-goose population, littering some of the most expensive Zip Codes in the country with hundreds of bird carcasses.

The die-off became a talking point after the Instagram account @kookhampton (“kook” is slang for a clueless surfer) posted a photo of a three-foot-deep trench dug on Georgica Beach—a mass grave, packed with geese. Commenters noted that this was “how horror films start,” and that it posed a hazard to excavation-minded dogs and kids with shovels and pails.

For the nitty-gritty of who (Trustees? Mayors? The Department of Environmental Conservation?) is responsible for dealing with scores of deceased birds, there’s one guy to read: Christopher Gangemi, who writes the “On the Wing” column of the East Hampton Star. The other day, he joined Kathleen Mulcahy, the executive director of the Evelyn Alexander Wildlife Rescue Center, to answer a call from the East Hampton homeowners Kyle Glaeser and Andy Yuder, about a sick goose.

Gangemi’s own migration pattern: he left the city and a job in day trading after 9/11; another flock followed him during COVID. “I think, with this war, if there’s the tiniest hint of danger, everybody’s going to come out,” he hypothesized, then spotted the ailing goose, whose neck was coiled, its eyes cloudy.

“I don’t know why I’m gendering him, but we saw him yesterday,” Glaeser explained. “And then we were at dinner last night and a friend told us about all the birds that they found at the beach . . .”

Mulcahy, wearing gloves and a mask, cornered the goose, wrapping it in towels and handily depositing it in a plastic bin. “I chased a turkey for twenty minutes this morning,” she said. The turkey perked up and flew off. This bird, however, was going back to the center to be euthanized.

“Is it peaceful—like we did with our dog?” Yuder asked. “What is it, gas, over the beak?” Mulcahy reassured the callers that the goose would inhale a vapor, and “just go to sleep,” protecting other birds and scavengers from the virus.

Gangemi’s articles chart the progression of the disaster, from “Geese Rule State Bird Count Here” (February 19th, when 10,806 geese were spotted on the East End; business as usual) up to March 26th’s “Goose Die-Off Slowing.” The D.E.C. is hopeful that the flu will peter out, as warmer weather leads geese to break off into breeding pairs.

But one goose still had to make its final journey to the rescue center, in Hampton Bays, which, last year, had 2,666 “patient admissions,” spanning nearly two hundred species, and released more than eight hundred and fifty animals back into the wild. That bird was met by a staffer named Grace DeNatale, outside an isolation tent. Geese had suffered this year, she noted, because the winter was so brutal. “This was supposed to be their oasis, and everything was frozen for weeks,” she said. “They were all probably smooshed together in whatever thawed areas they could find, with barely any resources. People would also be getting sick in that situation.” (2025 was the year of raccoon distemper—it’s always something.)

Gangemi had spoken to an ornithologist at Cornell who said that the goose population would likely bounce back. But they face other threats.

“Cars, pesticides, lead,” Mulcahy said. “Have we ever gotten a swan that didn’t have lead poisoning?”

She introduced the center’s education animals, which, for various reasons, can’t be released. There was Henry Hunter, “a very angry screech owl,” and America, a red-tailed hawk, who, as a baby, had fallen out of his nest. After being reared by rehabilitators, he was sent to a flight-training program in New Jersey, but failed (bad vision).

DNA testing some years ago revealed that the center had been wrong about the sexes of many of its residents. Vlad, a turkey vulture who’d been hit by a train, was, in fact, female. The center had tried to release Vlad but kept getting calls from restaurants complaining that she was eating people’s French fries.

“You know where turkey vultures really like to hang out?” Gangemi said. “The Roanoke Avenue Elementary School—there’s this chimney and they just all sit around it. Whatever is coming out of that chimney, they like the smell.”

The goose was dead. Everyone headed back outside, where a steady chirping could be heard. “How’s that for the best sound in the world?” Mulcahy asked.

“Peepers!” Gangemi said. The spring peeper (Pseudacris crucifer) is a small, loud frog; male peepers have a bell-like mating call that heralds the arrival of spring. ♦